Joe Reynolds uses a large-format camera to build bonds that stretch across continents. While geographically from the American South, his bloodline connects him to the people of Brazil. These origins converge in the series Cristalândia, a photographic exploration of a Brazilian mining town, where he introduces himself to the community in search of camaraderie through
I recently had the pleasure of meeting Tracy L Chandler in person at ICP Photobook Fest in New York. In advance of that first hello, I did a close read of Tracy’s new book, A Poor Sort of Memory, released in September [2024] by Deadbeat Club, as well as a re-read of Tracy’s archive on
This week, we will be exploring projects inspired by memory, place, and/or intimacy. Today, we’ll be looking at Nic Umbs’s series Memento Vitae. I first met Nic Umbs at the 2019 Society of Photographic Education Midwest Conference in Milwaukee, WI. Before the world shut down, I was lucky to see his work in person, and
With a thoughtful gaze born from a deep concern for his surroundings, Adra Pallón explores the devastating consequences of rural depopulation on the culture of Galicia, its environment and the last of its aging inhabitants.
In a declining business, Kevin Mazur has thrived by gaining the trust of Beyoncé, Madonna and Taylor Swift. His motto: “Why wouldn’t you want to make people look good?”
The White Line | by Rosa Rodriguez A vast ice desert unfolds, inhospitable and enigmatic, with untouched beauty. In the regions of Kulusuk and Qaanaaq in Greenland, Yamalia in Siberia, and Norwegia…
You can feel when everything is coming into place, the subject, the light and the mood. When you’ve captured that moment, it is very special, very exciting. The whole parade is like a kind of dance with strangers and you need to be at the rhythm of the street. Then it’s fun and challenging. Even when you miss the moment or are not seeing it, it’s ok, it will come soon enough. Patience is key and great photographs come from those who wait.
The darkroom has been an integral part of my practice, almost as important as taking photos, irretrievably connected. I tried digital in the past, but I was never satisfied with the results or the process. In front of the screen, it’s easy to be too controlling, to be perfect, it’s too mental. Analogue work is organic, you touch it, you smell it, you feel it
I was introduced to Brian Ulrich’s work during graduate school for my research on photographic representation of the effect of capitalism and consumers’ behavior in the United States. At the time I was working on a documentary series on the intersection of consumption and cultural practices in diasporic communities displayed in various Vietnamese grocery stores
I want to thank everyone who submitted to The Feature Shoot Emerging Photography Awards. We had many amazing entries, and I’m always astounded by the myriad of ways photographers tell…